Critical knitting: knitting as a research method Louise Baker, MA Fine art, part time, 230482
Aim: To explore how and why knitting can be used as a research method
Objectives: • • • •
To discover how other artists use textile processes as a research method To analyse the different meanings associated with knitting and textiles To reflect on the ways that I use knitting in my practice To underpin these findings with appropriate critical theories
Abstract: Knitting and thinking: Knitting (the verb) is like breathing, connecting my body with my mind through the haptic and kinaesthetic qualities of making and materials. Knitting in private, the physical and repetitive nature of knitting activates a deep and different way of thinking, associated with the psychologist, Csiksentmihalyi’s ‘state of flow’, a place of meditation where time flies. Cziksentmihalyi says it’s where the level of skill matches the level of challenge.
Knitting and critical reflective writing: Anni Albers and the Bauhaus weaving theories
Knitting and participation: Stitching Together is a group of research practitioners and academics who use participatory knitting as a research method. ‘Knitting together’: In some of my interactive and participatory projects, like Safety net, where there’s no knitting involved, there’s still a ‘knitting together’ of people, actions, thoughts and concept. I become the connector.
describe a similar connection between making and thinking but add critical writing into the cycle of reflection. Adding writing into my rhythm of knitting and thinking is already enhancing my reflective practice. Similarly, occupational therapist Betsan Corkhill’s research into the therapeutic benefits of knitting provides evidence that knitting can change brain and behaviour.
Knitting and interaction: Richard Tuttle describes the etymological links between textile
Knitting as a ‘stream of consciousness’: Knitting in the ‘state of flow’, I have no pattern, set
Knitting and context: Knitting is perceived differently when it’s not as people expect.
myself a few rules, make decisions as I knit and the sculpture develops intuitively. Janine Antoni’s weaving performance, Slumber, forges parallel links between body, consciousness, the unconscious and narrative.
Roszika Parker’s theories of stitch being gendered, domestic, functional, private, perfect, decorative and safe highlight certain associated femininities and it can become Julia Kristeva’s abject, and Mary Douglas’ ‘matter out of place.’
Knitting by hand: Rosemarie Trockel’s machine-knitted ‘wool paintings’ investigate handmade
Knitting and site responsiveness: Kwon and Dillon discuss meanings in installing art
versus industrial making and the different meanings of wool as material and knitting as process in each context, providing a useful counterpoint to the significance of the handmade in my practice.
in unexpected places and Chiharu Shiota, Richard Tuttle, and Christo provide inspiring examples of site responsive work using textiles.
Knitting and performance: I knit whenever and wherever I can and know that knitting in
and tactile. Thinking of knitting now as a noun, Living sculptures is a series of wearable knitted sculptures which I invite visitors to not only touch but wear. The passive viewer becomes an active participant.
Knitting and construction: Anni Albers made links between the media used, the act of
public can be performative. There is also a long history of feminist and political knitting performative activism. Casey Jenkins’ performance Casting off my womb marked her 28 day menstrual cycle and Adrienne Sloane’s unravelling American flag are 2 different kinds of examples.
making and meaning. Richard Tuttle describes how weaving conceals and reveals elements of cloth and likens it to the grid motif in modern art and beyond. Andrea Zittel, in her A-Z Single Strand Uniforms (1998-2001) manipulated single threads into sculptures which she wore as clothing; using crochet and an idiosyncratic knotting technique, her body became the machine.
Knitting and visualising data: A number of artists use knitting to gather or visualise data.
Knitting and unexpected materials: Artist Dave Cole knits with unusual materials
Rachel Gomme in Hour (for Penelope), marks time in a durational performance; Artangel set up a community project called The Knitting Map, knitting data - traffic conditions, movement of people, temperature and weather.
which brings a different set of meanings to his work. Almost anything linear could be knitted; the transformation of a line, knitting is drawing in Rosalind Krauss’ expanded field.
Knitting and social engagement: Knitting in public has what Nicolas Bourriaud describes as relational aesthetics. It’s a people magnet. Corkhill maintains that the side by side nature of knitting means that people find it easier to talk.
Methods: • Practice-led knitting • Observation • Mindmapping • Interviews • Critical reflective writing • ‘Thick description’ (Geertz, 1973) • Analysis • Documentation (photography, video, audio, notes) • Drawing • Sketchbook • Visiting exhibitions • Researching other artists
Reference list:
Approach: Using practice-led research, I will adopt a pluralist, constructivist methodology with multi-method techniques, using multiple media, integrating visual, tactile, kinaesthetic and experiential data and analysis (Gray and Malins, 2016, p.21).
Scope and future plans: During my MA, I will trial ways to use knitting as a research method in my practice, as process, product, performance and participation. I have several exhibitions and residencies planned in the next year in Bath, Bristol and beyond, alongside my studio explorations. I’ll stay flexible and responsive and investigate some of these knitting methods, as appropriate, documenting them rigorously and triangulating with other research methods as well.
Significance and limitations/concerns: Using knitting as a focussed research method will enable me to link my practical making to critical theory and enhance my practice. I am aware, however, that there is too much here to explore thoroughly in 2 years especially as I also intend to trial other processes while I have access to the facilities at Bath Spa University.
Albers, A. (2017) On weaving Princeton: Princeton University Press Baker, L. (2019) Works Available at: https://loubakerartist.co.uk/ (Accessed 10 October 2019) Bourriaurd, N. (2002) Relational aesthetics Paris: Les Presses du Reel Camhi, L. (2018) ‘Some of the Most Provocative Political Art is Made With Fibers’ New York Times March 14 Available at: https://www.nytimes.com/2018/03/14/t-magazine/art/fiber-knitting-weaving-politics.html (Accessed: 25 November 2019) Cole, D. (no date) Portfolio, Available at: http://davecoledavecole.com/ (Accessed: 4 December 2019) Corkhill, B. (2005) Where are we now? Available at: http://www.stitchlinks.com/research.html (Accessed 17 November 2019) Dillon, B. & Whitechapel Art Gallery (2011), Ruins, London: Whitechapel Gallery Douglas, M. (1966) Purity and Danger. London and New York: Routledge Geertz, C. (1973) Thick description: towards an interpretive theory of culture Available at: https://philpapers.org/archive/GEETTD.pdf (Accessed: 27 November 2019) Gilson, J. and Moffatt, N. (2019) Textiles, community and controversy- The knitting map. London: Bloomsbury Gomme, R. (2016) Hour (for Penelope) Available at: https://vimeo.com/161197966 (Accessed: 24 November 2019) Gray C. and Malins, J, (2016) Visualizing research 3 rev. edn. Farnham: Ashgate Halfangel (2005) The Knitting Map, Available from: http://www.halfangel.info/knitting-ie/gallery.html (Accessed: 4 December 2019) Jenkins, C. (2013) Casting off my womb Available at: https://casey-jenkins.com/works/casting-off-my-womb/ (Accessed: 24 November 2019) Koch, P (ed) (2005) Andrea Zittel: Critical Space. Exhibition held at Contemporary Arts Museum Houston, Oct 2005 –Jan 2006, New Museum of Contemporary Art, New York, Jan –April 2006, Albright-Knox Art Gallery, Buffalo, NY., Oct 2006- Jan 2007, The Museum of Contemporary Art, Los Angeles, March –May 2007 and Vancouver Art Gallery British Columbia, June –Sept 2007 [Exhibition catalogue] Krauss, R. (1979) ‘Sculpture in the Expanded Field’ in October, Vol. 8. Spring pp. 30-44 Available at: http://www.onedaysculpture.org.nz/assets/images/reading/Krauss.pdf (Accessed: 5 December 2019) Kristeva, J. (1982) Powers of Horror, Available at: http://users.clas.ufl.edu/burt/touchyfeelingsmaliciousobjects/Kristevapowersofhorrorabjection.pdf (Accessed: 9 November 2019) Kwon, M. (2002) One place after another: site-specific art and locational identity, Cambridge, Mass: MIT Press Leavy, P. (2015) Method meets art 2 rev.edn New York: Guilford Press Mundy, J. (no date) Lost Art: Christo and Jeanne-Claude Available at: https://www.tate.org.uk/art/artists/christo-905/lost-art-christo-and-jeanne-claude (Accessed: 5 December 2019) Oppland, M. (2019) 8 Ways To Create Flow According to Mihaly Csikszentmihalyi Available at: https://positivepsychology.com/mihaly-csikszentmihalyi-father-of-flow/ (Accessed: 1 December 2019) Parker, R. (2010) The Subversive Stitch. London and New York: Tauris Ponterotto, J. (2006) ‘Brief Note on the Origins, Evolution, and Meaning of the Qualitative Research Concept “Thick Description”’ in The Qualitative Report Volume 11 Number 3 September pp538-549 Available at: http://nsuworks.nova.edu/cgi/viewcontent.cgi?article=1666&context=tqr/ (Accessed: 27 November 2019) Stitching together (no date) Stitching Together Available at: https://stitchingtogether.net/ (Accessed: 9 November 2019) Shiota, Chiharu, (2019) Works, Available at: https://www.chiharu-shiota.com/works (Accessed: 5 December 2019) Sloane, A. (2019) Free speech Available at: https://www.adriennesloane.com/free-speech.html (Accessed 5: December 2019) Smith, T (2014) Bauhaus weaving theory: from feminine craft to mode of design Minnesota: University of Minnesota Press Tuttle, R. (ed.) (2014) I don’t know. The weave of textile language [Exhibition catalogue] Zittel, A. (2014) Works Available at: http://www.zittel.org/works (Accessed: 27 November 2019)
Image: Baker, L. (2014) Nobody 3 (Wearing the unwearable), detail, hand knitted wool, knitting needles